论网络文学改编类古装剧的“想象力消费”:现象、本质与反思  

On“Imagination Consumption”of Costume Dramas Adapted from Online Literature:Phenomenon,Essence and Reflections

作　　者：陈旭光[1] 杨宇 CHEN Xuguang;YANG Yu(Art Institute,Peking University,Beijing 100871,China)

机构地区：[1]北京大学艺术学院,北京100871

出　　处：《上海大学学报（社会科学版）》2024年第3期37-49,共13页Journal of Shanghai University(Social Sciences Edition)

基　　金：国家社会科学基金艺术学重大项目(23ZD07)。

摘　　要：网络文学改编类古装剧是近年中国剧集生态中的突出现象,此类改编剧降解了主流话语主导下“再现”历史的“正史”表达功能,加强了大众文化语境中影视剧的文化消费功能,尤其体现在“网生代”对历史可“穿越”、拼贴、杂糅、并置的想象上。这是一种具有明显青年亚文化特性的对历史的“想象力消费”。叙事游戏化与性别想象多元化是此类古装剧在环境、人物、时空设置、性别想象上体现出的新变化。结合大塚英志、东浩纪的二次元文化研究,可以认为这一变化实则表明“想象力消费”已经成为网络文学改编类古装剧乃至网络文化生产与消费的重要原则。但网络文学改编类古装剧创作存在不少问题,应该调整策略,优化质量,以适应在当下文化语境中的生存与发展。The adaptation of online literature into historical costume dramas has emerged as a prominent phenomenon in the recent Chinese television landscape.These adapted dramas subvert the“re-expression”of“official history”under mainstream discourse,strengthening the cultural consumption function of film and television dramas within the context of popular culture,and embodying the imaginative capabilities of the“Internet Generation”to“transmigrate,”collage,blend,and juxtapose historical settings.This represents a form of historical“imagination consumption”with distinct youth cultural characteristics.New changes of environment,characters,time,and gender representation in these costume dramas are analyzed in terms of narrative gamification and the diversification of gender imagination.Drawing upon the research of Eiji Otsuka and Hiroki Azumaon 2D culture,this article argues that this shift underscores the significance of“imagination consumption”as a crucial principle in the production and consumption of historical costume dramas and even online culture.However,there are several issues in the creation of these dramas that need to be addressed.Strategies should be adjusted,and quality should be optimized to adapt to the current cultural context for their survival and development.

关 键 词：网络文学改编 古装剧 想象力消费 性别想象 网生代 

分 类 号：J912[艺术—电影电视艺术]